Using the advent of radio in Brazil, Patrício Teixeira pioneered the brand new medium initially participating like a singer in the Rádio Clube do Brasil and switching to Guanabara, Cajuti, Sociedade, Mayrink Veiga, while others, employed in radio stations for nearly 30 years. Owner of the vast and varied repertory, his huge discography is made up of modinhas, partido-alto sambas, emboladas, toadas sertanejas, and Carnaval music documented after 1918 through Odeon, Parlophon, Columbia, and Victor. He was a good friend from the popular chorõsera (choro players) of his period, such as for example Pixinguinha and Donga (with whom he toured Brazil in 1928), Villa-Lobos, Catulo da Paixão Cearense, and João Pernambuco. An extremely popular artist, he previously choice for the repertory of Brazilian folkloric tunes. Surviving in the Carioca borough of Estácio, where in fact the modern samba was created in the 1930s, Teixeira trained himself your guitar beginning at 11. From 1910 to 1915, he did serenatas (serenades) in Vila Isabel and Praça 11. Also a music teacher, he previously as pupils Olga Praguer Coelho, Linda Batista, Aurora Miranda, and afterwards Nara Leão and her sister Danuza Leão. In 1927, he previously achievement with “Casinha Pequenina” (open public site) and “Caboca Bunita” (Catulo da Paixão Cearense). Within the next season, he documented using the Oito Batutas the samba “Pé de Mulata” (Pixinguinha). From 1928 to 1956, he previously several hits, such as for example “Gavião Calçudo” (Pixinguinha, 1929), “Xoxô” (Luperce Miranda, 1930), “Cabide de Molambo” (João da Baiana, 1932), “Não Tenho Lágrimas” (Milton de Oliveira/Utmost Bulhõha sido, 1937), “Desengano” (Haroldo Lobo/Milton de Oliveira, 1938), and “Azulão” (Heckel Tavares/Luís Peixoto), amongst others.